Lot 1034 D α

A wild duck, a woodcock, a partridge, a thrush, and some small bullfinches; this selection of felled game birds is accompanied by a rabbit and a basket of fruit overflowing with white and black grapes. A squirrel joins the scene, gnawing on a nut, and a finch can be seen perching on one of the vine leaves.
The importance of this still life by Clara Peeters, its artistic quality, its standing within the history of the genre, and its symbolism become clear when we compare it to another similar work by the artist, namely the still life in the Museo Nacional del Prado dated 1611 (cf. ill. 1). The still life in Madrid also depicts dead game birds laid out on a table, but here instead of the grapes and the rabbit, we see shells strewn about and porcelain bowls stacked up on top of each other. The biggest difference is in fact that some of the birds have been prepared for cooking: The doves on the plate have been plucked and the finches are lined up on thin sticks. It appears as though the present work depicts the birds shortly after the hunt, whereas in the painting in the Prado they are waiting to be made into an opulent feast. Hunting was an aristocratic pastime, shells were valuable collector's items, porcelain crockery – like a finely painted still life – was a symbol of wealth. Works like the present canvas or that in the Prado testify to the luxurious lifestyle of their patrons and viewers.
What is perhaps most impressive about this work, which at first glance appears simple, is the skilful way in which the objects have been arranged to form a balanced composition. The duck forms the centre of this arrangement with its body, neck, and head creating an elegant curve leading into the midst of the image. The bird's rump is displayed prominently in the centre of the composition so as to demonstrate the artist's ability to depict the texture of the feathers. The way in which the painter aimed to depict the colours and forms of the fur and feathers in all their variation can be observed in a further detail: It is no accident that the woodcock's long beak rises up vertically and forms such a sharp contrast to the soft fur of the rabbit behind it. The use of colour is sparing. In accordance with the subject depicted, the palette consists mainly of finely nuanced brown tones interspersed with just a few dabs of red and green for the grapes and the birds' plumage.
The mature and harmonious character of this composition is especially exceptional when we consider that it is a fairly early example of a Flemish game still life. Dead birds and game had been depicted in market scenes and kitchen pieces in Flanders since the mid-16th century, but it was only in the early 17th century that the motif developed into an independent sub-genre. Alongside Frans Snyders, Clara Peeters was instrumental in this development, providing the genre – as exemplified in this still life and that in the Prado – with a definitive compositional style.
Although Clara Peeters left behind numerous important works and despite intensive research, little to nothing is known about her life. Her background remains just as much a mystery as where she received her artistic training or where she was active, although this is thought to be Antwerp. It is known that her works found their way into important collections early on, with the still life in the Prado being in the possession of the Spanish royal family since the 17th century.